The film Santoori by the accomplished Iranian director Dariush Mehrjui tells the tale of a drug addict fighting with his inner and outer demons. With a raw and honest look, the film captures the devastation of drug addiction and how a society can push someone in that direction. Santoori an artist vs. society musical drama, goes deep within Tehran’s society, its problems with drugs and the ill treatments of drug addicts. Read More »
A man contemplates life and compares it to a pear tree in his yard which stops producing fruit.
A quiet gentle film guaranteed to soothe the most jangled nerves with its soft approach to life’s little annoyances and heartbreaks. A writer looks back on his early life as a twelve year old when he lived in a grand mansion and played in the extensive surrounding orchard of fruit trees. I felt like turning off in the first five minutes as the morose writer became more and more depressed with life in general as he struggles for inspiration to write more books and articles. But I’m very glad I kept watching because as he remembers about the happier days of his youth, the dark and shadowy set dissolves into a sun-kissed orchard with a family picnicking under the trees. Read More »
Ali and his father go from their poor neighborhood in the outskirts of the city to a hospital so that Ali’s father can be treated for his sickness. However since they have no money, Ali starts to work for Dr. Sameri who deals in blood.
Won Berlin International Film Festival 1978 FIPRESCI Prize (Forum of New Cinema)
Won Berlin International Film Festival 1978 OCIC Award (Forum of New Cinema)
Iran’s submission to the 50th Academy Awards Read More »
Hamoon’s wife is leaving him. He is also unsuccessfully trying to finish his Ph.D. thesis. He is forced to reexamine his life. In a series of flashbacks and dreams, Hamoon tries to figure out what he did wrong. Read More »
This film firnly establishes as a major talent the Iranian
Mehrjui, whose successful fusing of pathos, humor, and pre-
occupation with the poor resembles nothing less than Chaplin
or early De Sica in its ferocity. In his earlier The Cow, the
only owner of such a precious animal in a poverty-stricken
village goes insane over its loss and assumes its place;
berserk, he is put into a harness, is dragged off to a
nearby hospital, beaten like an animal, and finally
dies the death of a beast in a mudhole. The Mailman
is an unforgettable Wozzeck-like figure, the eternal
simple-minded victim who finally rises to mistaken
grandeur in a murderous gesture that leaves him
braying with despair over the body of his victim.
Since such films can never be popular, they are living
proof of the fact that box-office returns must not
be allowed to determine the life of a work of art. Read More »